The Quinnipiac Chronicle, Volume 95, Issue 16

Mount Carmel Campus set for remodel in upcoming years

By CARLEIGH BECK Associate News Editor

Quinnipiac University’s Provost Debra Liebowitz and Vice President for Facilities and Capital Planning Sal Filardi presented a three-step plan to reallocate space in multiple buildings on the Mount Carmel Campus in a Feb. 4 information session.

The creation of the South Quad with two new academic buildings allows classrooms, faculty office spaces, meeting and study spaces to relocate throughout buildings across campus. Between The SITE, the new academic building, and the new School of Business, there is a total of 216,000 square feet of new space on the Mount Carmel Campus.

“What we have been doing is engaging in a whole process of stakeholder meetings and engagement so we can . . . test where things ought to go,” Liebowitz said at the town hall meeting.

Liebowitz, Filardi and the planning team presented the re-spacing plan to faculty, staff and students both in person and online. During the presentation, Liebowitz showed blueprints of multiple buildings and outlined how each room will be used.

The buildings impacted by the plan include: Clarice L. Buckman Center, Lender School of Business, Arnold Bernhard Library, College of Arts and Sciences, Carl Hansen Student Center, Echlin Center, Tator Hall and Center for Communications

See REMODEL Page 3

Quinnipiac proposes new ‘common time’ to give a mid-day break to students

By CARLEIGH

Quinnipiac University’s Provost Debra Liebowitz announced a new “common time” for students — allowing for more university-wide events and club meetings during the weekdays starting in fall 2025 during a Feb. 4 information session.

Common time was created to have a break in class schedules for students and faculty to attend events, meetings and reenergize for the rest of the day.

During the town hall meeting that discussed the re-spacing plans on the Mount Carmel Campus, Liebowitz presented the plan for the university to not schedule classes between 12:30-1:45 p.m. on Tuesdays and Thursdays.

There is an effort to include undergraduate classes on the North Haven Campus and graduate classes on the Mount Carmel Campus for fall 2025 — but the focus for this upcoming semester is to incorporate the common hour for the undergraduate classes. Clinical and internship hours will not be impacted by the common hour.

The addition of the South Quad on the

Mount Carmel Campus and the reallocation of spaces on campus allows for more classes to occur simultaneously. This opened the opportunity to have a time block with no classes.

“One of the goals that was a long-standing goal on campus was to create a common hour in the schedule grid in order to facilitate campus-wide events and create more space,” Liebowitz said to The Chronicle. “It won’t make space for every single thing, but to create more space in the grid for events, meetings, those kinds of things.”

The plan is to hold univer sity-wide events on Tuesdays, and clubs and other student organiza tions to hold meetings and events on Thursdays.

This could reduce the

number of late-night club meetings and allow students to spend time with friends more frequently.

“I think common time is actually a really good idea, because it’s so hard to have people’s schedules lined up,” said Emma Talbot, a junior film, television and media arts major. “I think it could be really helpful to have a common time for everyone to be available, especially for

Late-night club meetings can be difficult for the 28% of students who commute and live off campus.

“I’m a commuter, and a lot of club meetings are from 9 p.m. to 10 p.m.,” said Kristian Skiendziel, a first-year health sciences major.

“So I’m driving home for 30 minutes at 10 p.m. and I’m

tired, and I have an 8 a.m. (class) the next day. So I think that time for clubs would be beneficial.”

In addition to allowing time for events, meetings and activities, common time will give students the opportunity to take advantage of the dining and recreational and wellness facilities.

Although these activities will easily fit into students’ schedules, there are drawbacks with potential overcrowding.

“If I’m trying to go to the gym, a lot of people would be using the gym at that time, so it would be super crowded,” said James Mitchenson, a first-year health science major. “Or if I want to go eat, the dining hall will be super crowded at that time just because everyone will be going for lunch there.”

Liebowitz and her team are working to incorporate the common hour for all Mount Carmel Campus undergraduate classes for the upcoming semester, but exceptions will be made on a case-by-case basis in conjunction with the deans across Quinnipiac’s schools. Any exceptions will be brought from a dean to Liebowitz’s office.

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Associate News Editor

ILLUSTRATION BY KATERINA PARIZKOVA

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Quinnipiac professor premieres decade-in-making documentary

By AVA HIGHLAND Associate News Editor

On Jan. 13, 2025, Rich Hanley, professor emeritus of journalism, premiered his documentary “The Jump” on Connecticut Public Television. The documentary is Hanley’s 14th full-length broadcast project.

“‘The Jump’ is a story about how the townspeople of Salisbury, Connecticut, united to save their cherished ski jump spurred by a can-do spirit of volunteerism and a local hero who overcame polio to compete in the 1956 Winter Olympics in Italy,” Hanley wrote in an email to The Chronicle.

After over a decade in the making, the documentary is found on CPTV.org, CPTV’s YouTube channel, pbs.org and the PBS App.

Once completing his film “Last Days of the Coliseum,” in 2010, Hanley searched for inspiration for his next project.

“I read a news story about the effort to save ski jumping in Salisbury, Connecticut, and was immediately drawn to the visual potential and the underlying story of a small town fighting to preserve its tradition,” Hanley wrote. “When I researched the history of ski jumping there, a main character emerged: a local Olympian who had followed the classic hero’s journey in overcoming many obstacles to succeed.”

Filming began in 2012, however, with little snow that winter it was difficult to capture the right look. In the meantime, he conducted interviews and filmed with a drone until enough snow fell in 2013 to make the proper visuals.

Hanley still pushed forth researching the story. He dug for photos and footage, however he faced several challenges.

“Obstacles such as access to proper editing facilities, lack of funding and simply time to focus on it got in the way until the summer of 2024,” Hanley wrote. “This is much longer than the usual process, but it happens to everyone at some point. There’s a saying that the universe doesn’t want television to be made so it makes things difficult to get a project finished. It was true in this case.”

While creating the documentary, Hanley’s goal was to steer clear of techniques that might date the film.

Hanley used drones, Go Pros and hired a Romanian expert in 2024 to restore old

photos using AI. Some photos dated back to the 1920s.

“The technology should enhance the visual storytelling without overshadowing the narrative,” Hanley wrote.

Through the post-production process, Hanley worked with Jim O’Connor, Quinnipiac School of Communications studio production manager and film instructor, who both edited “The Jump” as well as created the graphics. O’Connor worked only during off hours and weekends on the film.

“His work was exceptional and artistically inspired,” Hanley wrote. “That speaks to the caliber of professionals the School of Communications attracts to help students achieve their ambitions.”

The release of “The Jump” marks a milestone in Hanley’s impressive career in both journalism and film.

Hanely has had goals of filmmaking since his childhood. However after graduating college in 1978, Hanely began his career as a sportswriter for a daily newspaper in Meriden, Connecticut.

In 1984 Hanley transitioned to the news desk and wrote for other newspapers, magazines and online publications. In the late 1990s and early 2000s he worked for Time Magazine.

“In short, I followed what was then the traditional path of the profession, starting

with a local newspaper and working my way up to the top,” Hanley wrote. “During this time, I maintained a side hustle as a part-time journalism instructor at Quinnipiac before joining the university full time in 2001.”

Hanley still continued writing for national publications. He also consistently appeared as an expert on journalism, culture and technology on national news broadcasts.

“My work for newspapers, magazines, radio, film and online at a high level of professional practice provided critical insight into what makes a story work in specific media forms,” Hanley wrote. “That’s useful in a multimedia environment where all forms have to dance to the same tune in different ways to serve a single story.”

In 1988, Hanley kick started the film side of his career.

“A journalism assignment led me to the story of the 1965 Little League World Champions from Windsor Locks, Connecticut,” Hanley wrote. “When I learned that the ABC broadcast of the championship game was still around, I decided to make it a documentary instead of a magazine story.”

The documentary became a segment on ABC’s Wide World of Sports, and received national distribution. Hanely also earned an Associated Press award, “Launching a side hustle as a documentarian.”

PHOTO CONTRIBUTED BY RICH HANLEY

The documentary “The Jump” utilizes photos restored by AI.

PHOTO CONTRIBUTED BY RICH HANLEY

“The Jump” is a highlight of Professor Rich Hanley’s journalism career, and earned him an Associated Press award.

Plan will go in motion during summer 2025

School of Business, will expand slightly to rooms next to its existing space in the School of Business.

and Engineering. The re-spacing plan will go into motion starting during summer 2025.

What will these changes look like?

CLARICE L. BUCKMAN CENTER

Known as “Buckman,” the building houses classrooms, labs, professor offices and an auditorium. It frequently hosts biology and environmental science labs. However, Buckman will be demolished this summer to make way for a future building. Many of the professors who have offices in Buckman will be moved to The SITE.

A professor in the audience voiced his concern at the info session about how the demolition of Buckman will impact the various musical groups on campus. Clubs like the QU Symphony utilize the auditorium for their rehearsals and performances because it is the only venue on the Mount Carmel Campus that is designed for musical performances. The other building that is fit for this is the Theater Arts Center, located on Sherman Ave.

Although there is no plan to address this issue at the moment, Liebowitz expressed her desire to work with the professors and students who utilize this space to find a solution.

LENDER SCHOOL OF BUSINESS

The new School of Business will be located next to The SITE building. This building will consist of classrooms, professor offices, study rooms, an auditorium and a café.

The current School of Business will become a space for a variety of administrative offices, multipurpose rooms and an expanded School of Communications. Its new name for the time being is the “Student Success Center.”

The Office of Inclusive Excellence (currently located in the Center for Communications and Engineering), the Office of International Students and Scholars, the Office of Global Engagement and the Career Development and Experiential Learning Lab (all currently located in the Arnold Bernhard Library) and The Honors Program’s Offices and Lounge (currently located in Echlin Center), will also be moved to the current School of Business.

“I think the (current) School of Business feels very office-y,” said James Mitchenson, a first-year health science major. “So if we put all of (those) offices there, I think it would be fitting.”

The Office of International Student and Scholars changed locations last academic year when it vacated the space in the Center for Communications, Computing and Engineering to make space for the Office of Inclusive Excellence. Similarly, the Honors’ offices and lounge moved spaces two years ago, from the same building to Echlin Center.

The School of Communications, which is located both in the CCE and the current

ARNOLD BERNHARD LIBRARY

In addition to serving as a study space, the Arnold Bernhard Library is home to multiple offices, such as the President’s Suite, One Stop, Registrar offices, the Learning Commons and the Information Technology Services offices. With many of the current offices moving out of ABL, this gives more room to the offices that are staying.

The One Stop and Registrar offices will consolidate with the Career Development and Global Engagement offices. The Learning Commons will expand slightly where the Registrar office currently stands. This allows for ITS to expand to the current testing centers, which are a part of the Learning Commons. The Quinnipiac Innovations in Learning and Teaching offices, located in the One Stop space, will be shared with the Learning Commons and other offices.

COLLEGE OF ARTS AND SCIENCES

The College of Arts and Sciences offers 26 programs, some of which don’t fit into the buildings. One of these programs include the Psychology department, which is located in the CCE. With the new re-spacing plan, the psychology offices will be moved to the lower level of College of Arts and Science’s first building

“As a psych(ology) major, I’m excited to see the psych(ology) department get moved,” said Catrina Fielding, a junior psychology major. “I kind of didn’t even realize where it was until last semester, so I think it’s really cool.”

In addition to the Psychology Department, CAS-1 will also have designated research spaces for psychology students. The modular buildings behind CAS that hold lab classes will also be removed.

CARL HANSEN STUDENT CENTER/TATOR HALL

The Carl Hansen Student Center is home to various student organization areas, such as the Greek Life Suite, the Student Government Association Suite and the Student Media Suite. One of these, the Multicultural Center, will move across the hall to a larger space next to an expanded Muslim prayer room. A new student lounge will replace the current Multicultural Center.

The Quinnipiac Bookstore will relocate to a new space between the Lender School of Business and North Lot to make way for expanded dining options.

“I like the idea of (moving) the bookstore and expanding the dining hall because I love food,” Mitchenson said. “But it might be a little annoying to walk that far to the bookstore.”

In Tator Hall, room 232, which is currently a classroom, will open for meeting and event use. The Testing Center, originally located in ABL,

The respacing plan is broken up into three phases.

will be moved to the third floor of Tator Hall.

ECHLIN CENTER

The Honors Program and School of Health Sciences offices are currently located in the Echlin Center. With the Honors Program moving to the current School of Business, there will be space for additional School of Health Sciences faculty offices. The Economics Department will also move into this space, and the center will add an Exercise Science Lab.

CENTER FOR COMMUNICATIONS AND ENGINEERING

The re-spacing plan for the Mount Carmel Campus opens multiple rooms for the School of Communications and the School of Engineering. A room on the second floor will become a part-time faculty lounge. This is the only open space that has a designated use.

During the town hall meeting, Liebowitz mentioned one of the ideas for the current Office of Inclusive Excellence is to convert it into a space for The Agency, Quinnipiac’s studentled strategic communications agency.

Throughout the re-spacing process, Liebowitz and her team plan to involve faculty and students.

“Exactly how that space gets laid out or whether (faculty and students) need to renovate that space is not reflected in these plans,” Liebowitz said. “That’s where we need all of the user groups to engage in detailed conversions about what it will look like.”

Liebowitz looks forward to seeing how this plan makes an impact on campus.

“It has tremendous possibilities to create greater opportunity for community, for student success and for additional space for innovation and growth in areas and programs where it’s most needed,” Liebowitz said.

PHOTO COURTESY OF DEBRA LIEBOWITZ

By COLIN KENNEDY Managing Editor

I’ve been going to sports games for a long time — basically my whole life. Celtics and Bruins at TD Garden, Patriots at Gillette Stadium and Red Sox at Fenway Park. Regular season, postseason, preseason, you name the type of game and New England team and I’ve probably seen it.

I go to these games to actually watch what’s happening, and I care about the outcome. But there’s one thing that constantly gets me riled up every single time, and makes me wonder why some people are spending serious money to come to these games.

Why are people constantly getting up or going to their seats in the middle of the action?

Back in the olden times I felt like it was standard practice to wait for a whistle, timeout or stop in the action before coming or going from your seats. Now it feels like I stand up in the middle of a play about 20 times a game.

The amount of times it feels like my view is being blocked or my feet are being stepped on by some five-year-old who is going to the bathroom for the 12th time is kind of ridiculous. I know this may sound whiny, but trust me — this is a major issue.

It’s becoming an epidemic in every single arena and stadium across the country. While I only really experienced it at TD Garden, it has to be happening everywhere — it’s in the water.

Opinion Wait for the whistle

Buddy your tickets say you’re sitting seven sections away, why are you sitting right next to me? Now I have to awkwardly sit there while a family of four stand in the middle of the row checking their tickets to make sure they’re in the right spot. Meanwhile, Jayson Tatum is posterizing some poor New York Knick down on the court and I can’t see. Can you see the issue?

Luckily for all of you people who don’t know how to act at games, I’ve got the an -

swers to all your problems.

First, it’s time to bring back ushers in every section in the entire arena. We need these old dudes with little signs saying ‘Please wait for a stoppage in play’ standing in the entrance to every section. You don’t even need to say anything. You know when you see that pissed off old dude who has been standing there all night that you’re not getting past.

Next, now I’m not saying we need to ban

children from these games, but you should have to take some kind of test to see if your kid can handle going to a game. If they’re under four that’s going to be an automatic no. They’ve got no idea where they are or what’s going on. And if your kid is more excited about the chicken tender bucket, take them to Wendys, not the Celtics game.

Lastly, if you’re the type of person to show up midway through the second quarter, you should be escorted to the exits. It bewilders me how someone spends the money to come to a game, and then is not actually there to watch the game.

It’s obvious you don’t care what’s happening. If it’s the second quarter and you haven’t gotten to your seat, you should be regulated to the last row. Go scroll Instagram up there Kendra, the cell service is probably better.

Now nothing will probably change, these games have become more of a social setting than an actual game. What’s happening on the court is second to whatever reason these people are coming to the games for — and that’s kind of sad.

These arenas and stadiums should be filled with fans who truly care about the teams playing, and are there to watch them play. So the next time you’re at a game, watch how many people just don’t care, and tell them to stay in their seats and watch.

Ye deserves to lose his fans, including me

By BENJAMIN YEARGIN Staff Writer

Kanye West, now Ye, was my favorite artist. He no longer is, and never will be. Ye’s latest X tirade, lawsuits facing him and actions at the Grammys reveal what he truly is now: an attention-seeking, contrarian loser.

Ye has always been a contrarian. He famously quipped in the grandiose “I Am A God,”

“As soon as they like you, make ‘em unlike you.” Whatever the public hates, he loves. What people expect him to do, he does the opposite and that gets him in hot water. He released the critically acclaimed “College Dropout” then infamously said on TV over a year later “George Bush doesn’t care about Black people.” Out there, yes, but it’s excusable.

You could say he stood up to an oppressive authority that was unpopular among Black Americans and that was inadequately responding to Hurricane Katrina, a natural disaster that devastated a majority-Black New Orleans in 2005.

Ye made one of the best rap albums ever in “My Beautiful Dark Twisted Fantasy,” then followed it up with the abrasive, crude-sounding “Yeezus.” Ingenious, Ye always knows how to subvert expectations and get out of the mainstream. “Make ‘em unlike you.”

Then he dabbled into American history.

During the “Yeezus” tour, he used Confederate flags on his merchandise. In 2018 and 2019, he wore a “Make America Great Again,” hat. Absolutely offensive, but you

can sort of understand Ye’s own rationale of reclaiming those hateful symbols.

Then he said slavery was a choice. What??? How asinine is that? West said that slaves were mentally enslaved, which kept them in bondage. Sure, slaves were mentally enslaved, but that’s because they were transplanted from Africa to a completely new land and forced to do back-breaking labor or face punishment or death.

When you thought it couldn’t get any worse, it did.

His remarks only became more hateful and ugly with no motive behind it except to get attention. That’s what brings us up to the modern day.

On Feb. 2, Ye went to the Grammys with his wife Bianca Censori. It was the first time since 2015 he went to the award show. The reason he went and for all of his actions? Attention.

Ye paraded Censori — who he claimed on X to have a “dominion” over — in a transparent dress that covered nothing. Censori was pretty much naked on the red carpet. And for what? Attention.

Then Ye got on X. You may have seen previous X rants of his, but this one, which began on the morning of Feb. 7, is a whole different gravy. It made his InfoWars appearance look like light work.

Ye praised Adolf Hitler posting “I love

Hitler” and “I’m a Nazi.” He added to those fascist views by posting a shirt with a swastika on it. He posted “Free Puff,” referencing Sean “Diddy” Combs who is awaiting trial for sex trafficking and racketeering charges.

Absolutely vile and inexcusable.

Ye was sued twice in 2024, both times he was accused of sexual assault. He has denied the allegations on his X account, albeit not seriously.

His latest music has been terrible too. Ye’s most recent album, “Vultures 2” got a 4.6/10 rating on the music magazine website Pitchfork. It’s his second-lowest ever review behind “Donda 2.”

To add insult to injury, Ye fans suspect he used AI on the record and Ye confirmed he plans to use AI on his next album “Bully.” He’s someone that used to be so meticulous that he claimed he spent 5,000 hours making his beautiful song “POWER.” Albeit that’s probably false, it still shows how much he cared about his projects.

Now he’s using AI to craft his songs.

Ye is at the lowest of the lows and it’s time for fans to stop supporting him. Yes, he has made some amazing albums and songs that are still on my playlist. But the man who made those has become the worst version of himself. An indefensible, disgusting, clown loser.

He is someone that no fan should be proud of to support.

It’s time for fans to only do one thing. “Runaway.”

KENNY SUN/WIKIMEDIA COMMONS Ye has become a shell of his former self, spewing bigotry and seeking attention.

ILLUSTRATION BY KATERINA PARIZKOVA

Let us keep binge watching Streaming services need to get on the same page about release schedules

By NEVE WILSON Staff Writer

There’s nothing like the feeling of binge watching a TV show. You find yourself thinking about it all day, worrying about the characters like they’re old friends and building anticipation for when you can finally go home and watch. The outside world and your responsibilities melt away as you devour episode after episode and there’s a feeling of accomplishment as you cross off seasons.

Binge-watching became convenient and popular thanks to streaming: accessing shows and movies on the Internet in real time. As of 2024, 83% of households in the U.S. have at least one streaming subscription, per Exploding Topics. As streaming has become the norm, it has accustomed us to binge-watching culture — watching entire seasons of shows in a short period of time. But now popular streaming services are pushing back by releasing shows in parts rather than all at once, and some of them are executing it better than others.

Netflix is considered the original streaming platform and also the most successful. It started as a mail out DVD-rental service and then in 2007 it began offering streaming subscriptions. Netflix purchased the rights to old episodes of popular TV shows like “Friends” and put them all online so viewers no longer had to wait a week for a new episode or months between seasons.

Binge-watching helped popularize Netflix, and in 2013 the company began producing its own series’ and releasing the episodes directly onto the platform in one batch. As more streaming services popped up like Amazon’s Prime Video and HBO’s Max, they all followed suit and started

releasing original shows on their platforms.

It seemed as if binge-watching and streaming were synonymous; however, recently that has been changing in an attempt to retain subscribers, maximize viewership and relieve postproduction stressors.

The streaming service Disney+ was still in its infancy when it began disrupting things by releasing original episodes on a weekly basis. All three of its highly anticipated Marvel shows did this in 2021: “WandaVision,” “The Falcon and the Winter Soldier” and “Loki.”

Prime Video used the same weekly release tactic for its original shows like “The Summer I Turned Pretty” and “The Boys.” For “Daisy Jones and the Six” it released two to three episodes a week. Max also used weekly releases for “House of the Dragon” and “Euphoria.”

At the time that these shows were coming out, I was frustrat ed by the weekly release. It felt like a rollercoaster: the high of getting one episode imme diately followed by a low of knowing I had to wait another week for the next. It felt like I couldn’t enjoy the show the way I was used to with binge-watch ing and becoming mildly obsessed.

Binge-watching and content over

By JAZZMELY FAJARDO Contributing Writer

On Aug. 14, 2020, Quinnipiac Today welcomed a new video series, “The Cut.” The video series was created as a platform for students of color to engage in open discussions about social topics. It provided students a safe place to freely have unfiltered conversations with a mentor.

It’s unclear who the creator of “The Cut” was, but the student host, former Quinnipiac student Esau Greene had talked before about how creating the video series felt like it was the right thing to do.

“These dialogues might make some people feel uncomfortable, but they’re important. You can’t turn a blind eye to them,” Greene told Quinnipiac Today in 2020.

“The Cut” talked about many topics that varied from fun conversations like the memories of their first time in a barber shop to serious topics like coping mechanisms.

The show was an amazing idea for Quinnipiac students to feel included in the community. But unfortunately the show had ended shortly after its second season. It’s unclear on why production and filming stopped, but I think Quinnipiac should reconsider starting the show again.

I have personally found that the best conversations always tend to happen at the salon or at the barbershop.

Salons and barbershops naturally have a com-

saturation have made me impatient.

I’m not the only person who dislikes the practice. One Prime Video user left a comment in Amazon’s digital and device forum saying: “If I wanted a weekly show I would be watching cable.”

However, in hindsight I can see why the weekly release may actually have merit. Although binge-watching is enjoyable, it’s not the healthiest habit. According to the National Institute of Health, binge-watching can lead to behavioral addictions and sleep problems. Still, I’d be the last person to say binge-watching isn’t fun and I will continue to do so. Just consider that like with many things in life, moderation is important.

Of course these streaming services are not considering our health when they utilize weekly-releases. Rather it is a strategy to elongate subscriptions (which renew on a monthly basis) and increase viewership and conversations about the show on social media as people share in the wait for new episodes and recommend others hop on the bandwagon. In 2022 Netflix changed the game once again when they announced they would be releasing the fourth season of “Stranger Things” in two parts, one month

Bring back ‘The Cut’

forting environment where conversing feels safe. They also have a diverse group of people which gives for an open discussion with multiple perspectives on a topic.

The setting of “The Cut” being put together as a barbershop already sets a relaxing tone. The Quinnipiac student body is 79% white, with 5% identifying as Black or African American and

4.3% as Hispanic or Latino, according to Quinnipiac’s 2023 statistics. These numbers highlight the university’s diversity challenges, which can sometimes make students of color feel isolated.

But with a video series like “The Cut,” it could help students from diverse backgrounds feel more included at Quinnipiac. This series will give an opportunity to students to talk freely and not

apart, with seven and two episodes, respectively. Netflix explained that this was necessary due to the high amount of visual effects and post-production editing required for the sci-fi show. Yet since then, it has continued to follow this pattern for other popular shows like “Bridgerton” season three and “Outer Banks” season four. Both shows came out in two parts a month apart from each other.

Although I was annoyed when I watched the first part of “Bridgerton” in a day, throughout the month I actually enjoyed reading people talk about it on social media and remembering that more would be coming. Otherwise I would have just watched the entire show in a few days and then forgotten about it by the next month.

Still, Netflix is testing its limits with its most audacious release schedule yet for “Cobra Kai.” The final season was split into three five-episode parts, the first two of which came on July 18 and Nov. 15, 2024. The final set is arriving on Feb. 13. Fans like myself were frustrated at the show being pulled taut over the course of a year. Although I will still be watching, my excitement for the release has decreased since the initial one in July, then November and now February. While weekly releases and even split-seasons coming out within a month of each other are acceptable, I would caution Netflix and other services against spreading out their releases further or chopping their seasons into too many parts. Otherwise they risk fans losing interest and spoilers getting leaked.

Binge-watching will always be popular with viewers and lucrative for business, so it’s important to create conversations and “hype” around a show without killing its momentum.

feel intimidated to talk openly on topics that they might not feel so comfortable talking about with a person not from their community.

Bringing back a series like this could be extremely educational for students and staff, providing an opportunity to hear the perspectives of their fellow Quinnipiac colored community members. It would help foster important conversations that could be uncomfortable but that are needed. Beyond serious discussions, the series could also feature lighthearted conversations that could be entertaining to watch.

I feel like as a college we need more platforms for students to feel safe to share their views on social topics. Especially students of color. It’ll also help Quinnipiac create a good example of inclusion for future color students who want to enroll and want to feel comfortable and safe in their future campus.

If this video series were to reappear I would suggest for Quinnipiac to make a version for both girls and boys. I only suggest that because it’ll help the series feel more inclusive and it will also gain a larger audience since Quinnipiac is made of 59.3% of females.

Bringing back “The Cut” or a new series that is similar will be extremely beneficial for students and as well for the professional facility of. “The Cut” is a perfect series for both educational and entertainment. It’s a series that should be worked to be brought back onto campus.

ILLUSTRATION BY TYLER MIGNAULT

PHOTO COURTESY OF QUINNIPIAC UNIVERSITY

Quinnipiac students, faculty and staff engage in discussions about social topics on Aug. 14, 2020.

Arts & Life

Wings and things at SPB's Super Bowl watch party

By GRACE-CONNEELY NOLAN Associate Arts & Life Editor

Students gathered in the Carl Hansen Student Center for the Student Programming Board's "SPBowl Watch Party" on Sunday, Feb. 9.

SPB catered Buffalo Wild Wings for students to enjoy as they watch the game projected on the screen in the Piazza — cheering on their favorite team. All were welcome to enter the raffle at a chance to win a jersey.

The event allowed students to connect and experience the thrill of Superbowl LIX as a community.

TYLER MIGNAULT/CHRONICLE

Students enter a raffle to predict which team will win.

SPB caters Buffalo

'The revolution will be televised' Kendrick Lamar delivers subliminal messages during Super Bowl half time show

By ZACHARY REAGAN Staff Writer

Kendrick Lamar has just had one of, if not the most culturally ubiquitous year any rapper has ever had. He’s capping it off with his Grand National Tour for most of 2025, but before we get there, Lamar had to take a stop in the Big Easy.

For the halftime show of Super Bowl LIX, Lamar earned his own show this time around, despite being on this stage just three years ago with some hip-hop icons. While they all likely cheered him on during his electrifying performance, Lamar clearly had a few things he wanted to express to the American people.

The first thing we see is Uncle Sam, played by Samuel L. Jackson, who introduces Lamar as a part of the “great American game.” Lamar starts his performance by debuting an unreleased song, with themes about being the best, lifting up his city and frustration with the government, all common throughout his musical catalog.

Lamar was sporting a huge chain with just the letter “a” on it. It’s part of the pgLang logo, but it’s also thought to represent the A minor key which he spins to diss Drake in “Not Like Us.”

After the unreleased song, Lamar says, “The revolution ‘bout to be televised, you picked the right time but the wrong guy.” It’s a pretty clear shot not only at President Donald Trump, who was in attendance, but also at himself. Lamar

has never been opposed to ruffling feathers from making big political statements in his music, but he’s also acknowledged before that he’s not some venerable political activist. He creates music from his perspective, and that perspective often includes political themes.

Lamar then performed one of his biggest hits off “GNX,” “squabble up” and after, Uncle Sam comes back on. He shouts, “No! Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!” This is another huge political moment of the show. Uncle Sam represents the government and white supremacist America telling Lamar that his music is too brash to reach the people, and they want to shut down his messaging.

Lamar goes straight into “HUMBLE.” one of his biggest breakout hits. His dancers formed the American flag in a form of protest, with many people looking toward the flag as a symbol of patriotism and hope, while others view it as a tool of oppression and colonialism. After “HUMBLE.,” Lamar launched into “DNA.,” then “euphoria.”

The camera shifts to a new scene as Lamar does “man in the garden,” followed by another appearance from Uncle Sam. Jackson said “Deduct one life,”likely referencing the number of black rights activists who have been murdered over the course of the movement.

Another scene switch puts Lamar on the “X” part of the stage where he performed “peekaboo.”

After that he teases playing “Not Like Us,” but says how they “love to sue,” another jab at Drake and UMG for suing Kendrick over his newest megahit. Instead, he opts to slow it down.

For “luther” and “All The Stars” Kendrick is joined by SZA. They’re doing the Grand National Tour together and are frequent collaborators, so this appearance made complete sense. SZA’s vocals were otherworldly, making this one of my favorite parts of the show. Uncle Sam even says, “it’s what America wants.”

Lamar teases “Not Like Us” again, this time adding “40 acres and a mule this is bigger than the music.” He references this line in his 2015 song, “Alright” as well. Forty acres and a mule were promised to freed slaves after the Civil War if they wanted to move west and to expand. However, Andrew Johnson, the president after Abaraham Lincoln, reversed this order. Lamar knows that promises made by the government will continue to be revoked until people step up to hold them accountable.

He launches into a fantastic performance of his most famous song, the one that has epitomized his unreal year. He looks directly into the camera with a wide grin when he says. “Say Drake, I hear you like ‘em young.” He wasn’t allowed to explicitly call Drake a pedophile on stage, but he

and the whole crowd screamed “A minor” when the respective line came up. He even got former tennis player Serena Williams, who once dated Drake, to crip walk on stage too. While this set was rife with important political messages, the point of this show was a spectacle just for Drake. I think this is the case because the concert ended with a huge “GAME OVER,” cementing this final nail in the coffin of a historic beef.

TYLER MIGNAULT/CHRONICLE

The game is projected on the big screen in the Piazza.

TYLER MIGNAULT/CHRONICLE

Wild Wings for students to enjoy as they watch Super Bowl LIX.

TYLER MIGNAULT/CHRONICLE

Students gather in the Carl Hansen Student Center Piazza for the Student Programming Board's Super Bowl watch party.

ILLUSTRATION

Is your companion really yours?

The 2025 thriller exceeds all expectations, exploring love,

By GRACE CONNEELY-NOLAN Associate Arts & Life Editor

Combine a perfectly dark comedic horror with a classic isolated weekend getaway, add some romance and you get “Companion.”

The movie is complemented by an absolutely stacked cast, including Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén and more. It has a clever construction and killer timing.

The only warning I have to those wanting to see it: do not watch the trailer. It completely spoils the plot twist, so I recommend going in blind.

I really enjoyed “Companion,” and it was refreshing to have equal parts suspense, horror and gore balanced with

witty banter. It made the jump scares all the more unexpected.

The story follows Iris (Thatcher) as she explores what it means to meet that perfect person — someone who just completes you and fixes a part of you that you didn't even know was broken.

Her narration dictates the two happiest moments in her life. One was the day she met Josh (Quaid) and the second, the day she killed him.

Thatcher’s performance solidified her place in horror. Her uncanny movements leave viewers slightly uneasy but completely immersed.

Right off the bat, the antagonist is established, and we begin to suspect the seemingly perfect boyfriend. But we then see their perfectly curated meet-cute at a grocery store, which leaves them both blushing.

What could go wrong?

They take a trip to a lakeside cabin for the weekend with two other couples. In the drive leading up to the isolated house, Iris reveals she is worried about embarrassing Josh in front of his friends, especially Kat (Suri), whose wealthy Russian boyfriend, Sergey (Rupert Friend), owns the place.

As they settle in, Kat doesn’t try to hide her dislike for Iris. On the outskirts of the group, Iris tries to connect with his friends, opening up about the fact that her life revolves around Josh: he is the perfect person for her.

Still, Iris notices Kat’s continued hostility and flat-out asks why she doesn’t like her.

“You make me feel replaceable,” Kat said.

At first, this quote confused me, but it is pivotal to the plot because shortly after, we learn

that Iris is not normal. She is not a human; she’s a robot.

Or, as Josh’s friends so brashly put it, a “fuckbot.”

She is the product of a company called Empathix, which designs robot companions to be the perfect partners, customizable down to vocal pitch, eye color and even intelligence level. (I bet you can guess how intelligent Josh made her).

Iris exists solely for him. She serves whatever needs he has. This infatuation, the hopeless focus she has on Josh, isn't codependence — it’s intricate programming.

When she discovers she is a robot, she protests, claiming she has memories from before she even met Josh. But as he explains, “Everything you do your whole life is just an imitation of life.”

As the movie progresses, we slowly see Josh's true nature.

He initially appears sensitive and caring but harbors deep resentment. His patience runs thin. Josh blames the world for his problems, complaining that he can't even afford Iris — she's a rental.

The movie highlights how much insecurity can take control of your actions.

“Companion” marks Drew Hancock’s film debut after 20 years on TV. He nails the fear of AI humanization and how close it's getting to replicating the human condition. Hancock brilliantly blends genres at the right moments, inverting and mocking romcom tropes.

The whole movie shifted for me when one of the couples was also revealed to have a companion. Patrick (Gage) is Eli’s (Guillén) customized partner. This revelation

loss and identity

normalizes the concept of robotic partners within the film world and that it’s not some unprecedented technological invention.

As the plot thickens, Iris figures out that Josh and his friends want nothing more but to use her as a pawn in their game. To use her to kill Sergey, blame the crime on her and run away with $12 million.

I have to admit that this is the only time I have rooted for the robot against the humans. Patrick, along with Iris, begins to suffer as their systems are tampered with.

Iris runs away, stealing Josh’s phone, which controls everything about her. She works to separate herself from Josh, even trying to break up with him, but not before he traps her and pushes his manipulative tactics to demonstrate how little control she has over herself.

In one disturbing scene, he commands her to raise her hand over a candle flame, not to remove it until he says so.

The last scene is one of my favorites, where Iris escapes. She passes an arguing couple on the highway — a man screaming at his girlfriend, who looks out the window and locks eyes with Iris, revealing the same face.

Iris waves with her robot hand, the flesh burnt off and winks as she drives off.

“Companion” has several dark underlying themes, including abusive relationships, gender dynamics and insecure men with an overall feeling of ownership over the female body.

This movie pokes fun but brings awareness to the feeble, weak nature of those who believe they deserve more.

Bromantic comedies: Why male sitcom duos keep us hooked

By EMILY ADORNO Digital Managing Editor

There’s nothing quite like coming home, collapsing onto the couch and diving into a sitcom.

The short episodes and quick-witted humor make them the perfect comfort watch — especially when you realize you’ve accidentally binged an entire season in two days — with no regrets, obviously.

One of the standout elements of sitcoms is their ability to create unforgettable male duos.

Whether they’re roommates, co-workers or just two people who inexplicably can’t function without each other, male comedy duos have been the backbone of TV for as long as sitcoms have existed. These pairs don’t just deliver the laughs; they bring heart, chaos and an oddly relatable sense of companionship that keeps us wanting more.

Think about it — where would “Friends” be without Chandler and Joey’s leather recliners and peculiar pet choices? Would “The Office” be nearly as fun without Jim’s endless pranks on Dwight? And let’s be honest, “New Girl” just wouldn’t hit the same without the hilariously dysfunctional yet oddly wholesome dynamic of Nick and Schmidt. These duos don’t just add humor, they define their shows.

But what is it that makes these pairings work so well? At their core, it’s all about contrast. A responsible, somewhat puttogether character paired with a lovable mess creates a dynamic that’s pure comedic gold. Joey is the charming but not-so-bright

aspiring actor, while Chandler is the neurotic, sarcastic office guy. Jim is the laid-back cool guy, constantly messing with Dwight, the intense, power-hungry beet farmer. Nick is a borderline hermit who believes in bizarre conspiracy theories, while Schmidt is obsessed with designer suits and a perfect skincare routine. Their differences make them entertaining, but it’s the way they balance each other out that makes them so compelling. They bicker, tease and sometimes drive each other to the brink of insanity, yet at the end of the day, they’d do anything for each other. That’s the magic formula for a great sitcom bromance. Who didn’t get a little choked up when Schmidt covered Nick’s rent? Or when Joey put his acting gig on hold to officiate Chandler’s wedding? Moments like these remind viewers that these friendships go beyond punchline, and they’re built on real stories of unconditional support.

leaned into slapstick humor and competitive banter, while modern sitcoms have allowed male friendships to be more affectionate and less concerned about masculinity.

“How I Met Your Mother” gave us Ted and Marshall, whose heartfelt bromance often stole the show. “Community” introduced us to Troy and Abed, who took friendship goals to another level with their bizarre yet endearing antics. Take Nick and Schmidt. They couldn’t be more different, yet they rely on each other in a way that’s both hilarious and heartwarming.

Schmidt pushes Nick to take better care of himself (and maybe, just maybe, wash his towel once in a while), while Nick keeps Schmidt from completely losing touch with reality. The same goes for Chandler and Joey. Without Chandler, Joey would probably never have been an actor, and without Joey, Chandler might have spent his twenties drowning in existential dread.

minor betrayals of kissing their best friend’s crush — but they always find their way back to each other.

These bromances resonate because they feel real. The ridiculous fights, the makeups, the continuous inside jokes — it’s a reflection of actual friendships. Ted and Marshall proudly call each other their “platonic soulmates.” Schmidt constantly declares his undying love for Nick, making him sure that Schmidt is the perfect husband for his real romantic relationship. These moments prove that male friendships don’t have to be emotionally stunted — they can be vulnerable, expressive and just as meaningful as any romantic relationship.

One of the best parts of watching these duos is seeing the traditions they create together. Personally, I wish my best friend and I could host a morning talk show like Troy and Abed. And let’s be honest, a “douchebag jar” might be a useful addition to most friend groups.

As sitcoms have evolved, so have their portrayals of male friendships. Older shows

They tease with staplers in jello, they fight about using the other’s expensive conditioner, they occasionally commit

Even as sitcoms continue to evolve and tackle more complex societal issues, one thing remains constant — the power of the bromance. We keep coming back to these friendships because they remind us of our own. Having a friend who will scheme with you, argue with you and still be there at the end of the day? That’s what makes life fun. So here’s to the sitcom duos who keep us laughing, crying and wondering whether we, too, should invest in a chick and a duck.

ILLUSTRATION BY KATERINA PARIZKOVA

Music and mayhem Red carpet shocks and surprising wins take over 2025 Grammys

By GINA LORUSSO Arts & Life Editor

Music’s biggest night returned once again with unforgettable performances, high fashion — or lack thereof — and, of course, controversy.

On Feb. 2, The Recording Academy held the 67th Grammy Awards at Crypto. com Arena in Los Angeles, California showcasing a night of industry-defining moments and celebration.

The highpoints of the show, however, aren’t what’s been keeping the Grammys in headlines a week after the final award was handed out — it’s the lengthy list of red carpet drama, political digs and snubs that took place.

Tributes

As an annual tradition, the Recording Academy produced a tribute segment to honor musicians who have passed away over the last year, including Liam Payne, Quincy Jones, Toby Keith, Rich Homie Quan and Cissy Houston.

Coldplay’s Chris Martin performed an emotional piano rendition of Coldplay’s “All My Love” as a slideshow projected pictures of each artist behind him.

Quincy, who died in November 2024, received a personalized gesture as several artists performed music sung or written by him. Actress and singer Cynthia Erivo performed a duet of “Fly Me to the Moon” with jazz musician Herbie Hancock — a nod

the house … the greatest thing out of Colombia that isn’t a Class A felony,” Noah said.

Later in the evening, while accepting the award for best latin pop album, Shakira retaliated.

“I, too, have been an immigrant who came to this country with a dream,” she said. “Latinos, we are an unstoppable force. I will not tire of fighting with them and for them.”

Alicia Keys also used her acceptance speech for the global impact award to bring awareness to the issues in diversity, equity and inclusion policy.

“This is not the time to shut down the diversity of voices,” Keys said. “We’ve seen on this stage talented, hardworking people from different backgrounds with different points of view, and it changes the game. DEI is not a threat. It’s a gift.”

Additionally, Lady Gaga, accepting the award for best pop duo performance with Bruno Mars, took a few moments to acknowledge and uplift queer and transgender communities.

“Trans people are not invisible,” she said. “Trans people deserve love; the queer community deserves to be lifted up. Music is love.”

As both an advocate and member of the LGBTQ+ community, Gaga has continuously used her presence to create music that resonates and empowers it.

The Invisible Dress Controversy What’s another award show without a little controversy? It’s inevitable.

many viewers of the program turned to X to voice their disapproval, believing these jokes were ill-times and insensitive.

Nonetheless, Noah continued.

“Three-time Grammy winner Shakira is in

Kid. However, he didn’t actually attend the show — he got in his car and left after the red carpet, Raj Kapoor, the Grammys executive producer, told People.

Kapoor confirmed Ye also didn’t have a seat reserved in the arena for the awards

he Grammys performances are definitely one thing people look forward to. It’s a chance for artists to put on a that

household names

Wins and Snubs

The “big four” at the Grammys, or album of the year, record of the year, song of the year and best new artist, are certainly the most anticipated awards.

Beyonce took home album of the year for “Cowboy Carter.” As the most awarded artist in Grammys history, this was her first album of the year win, adding another trophy to her collection. She beat Billie Eilish’s “Hit Me Hard and Soft,” Sabrina Carpenter’s “Short ‘n Sweet” and Swift’s “The Tortured Poets Department” — all of which topped charts.

Beyonce also took home country album of the year, and many fans were disappointed that she beat country superstars like Chris Stapleton, Kacey Musgraves and Lainey Wilson.

Swift, a previous winner in this category for her 2008 album “Fearless,” presented the award and read off a list of artists who have won in the past including Shania Twain, The Chicks, Johnny Cash and George Strait. When Swift announced the winner as Beyonce after her speech, many country fans were left disappointed, arguing “Cowboy Carter” won in favor of Beyonce’s mainstream status, rather than its recognition of true country roots.

Rapper Kendrick Lamar’s hit record “Not Like Us,” a diss track to rapper Drake, secured his win for song of the year and record of the year. Lamar, one of the most awarded rappers in Grammys history, has 22 Grammy wins and 57 nominations. “Not Like Us” is only the third hip-hop song to win record of the year.

The 10-month long feud with Drake finally came to an end as Lamar accepted both awards and came out on top.

Chappell Roan was crowned best new artist after a remarkable rise to fame over the past year. In her acceptance speech, Roan mentioned how her previous label, Atlantic Records, dropped her before the release of her first album “The Rise and Fall of a Midwest Princess” which contains hits like “HOT TO GO!,” “Pink Pony Club” and “Casual.”

She brought attention to record labels not providing new artists with livable wages and healthcare. She also included a positive message to aspiring musicians, reminding them to persist when faced with setbacks.

“It was devastating to feel so committed to my art and feel so betrayed by the system and dehumanized,” Roan said.

She ended her speech with, “Labels, we got you, but do you got us?”

Carpenter put on a vaudevilleinspired set with some of her biggest hits like “Espresso” and “Please Please Please.”

Her segment was full of broadway-style theatrics with comedic timing, vintage costumes and over-the-top energy which added a layer of charm to her performance. She drew inspiration from actress Goldie Hawn’s 1978 special “The Goldie Hawn Special.” Like Hawn, Carpenter began at the top of a set of stairs before making her way down and disappearing in the middle.

Carpenter’s signature style emulates old Hollywood but this performance highlights her ability to blend different artistic influences into her own brand to create memorable performances.

After winning best rap album, rapper Doechii brought back the 90s with her performance of “Catfish” and “Denial is a River.” Her passionate, flowy dance moves dominated the stage as she jumped around, flawlessly rapping the lyrics to her songs.

“This performance is one of the most difficult performances I’ve ever done and I really felt a need to push myself harder than I ever had before,” she said to reporters backstage. “It meant everything to prove myself tonight to me. So it was about Broadway and theater and art, and I think I brought that to the stage.”

Final Thoughts

From emotional tributes to bold fashion choices and electric performances, the 2025 Grammys was unforgettable.

Some moments sparked debates, but others solidified legacies and brought attention to rising stars.

As the dust settles, we recognize that the Grammys isn’t just about music — it’s a night for culture and change to take the stage.

KATERINA PARIZKOVA

Dedication over dabbling? Project Pan encourages consumers to reconsider their shopping habits

By GRACE CONNEELY-NOLAN Associate Arts & Life Editor

Mounds of makeup and drawers piled with products have led to the latest social media trend —project pan.

A last effort to stop overconsumption, this initiative focuses on using products you already have rather than buying new ones you don’t need.

Project Pan is a more mindful approach to consumerism, particularly in the beauty industry.

The term surfaced on Instagram around 2018 but has recently gained traction on TikTok.

It’s a challenge to finish beauty products until you hit the “pan” and reach the bottom of the container. During this trend, you can’t buy anything else — you must finish what you have before purchasing new products.

Project Pan aims to increase consumer awareness and encourage more sustainable purchases in the future to prevent impulse buys on items that will be discarded in less than a year.

When we start thinking consciously like this, we begin to shop for everything differently.

It can be the perfect end to the constant cycle of consumerism. Instead of centering on the instant gratification of buying something new, Project Pan shifts the focus to fully using and repurposing cosmetics.

Mark products as finished or “panned” and celebrate the memories tied to them.

A dedicated community of makeup enthusiasts has followed this type of underconsumption for years. While small in numbers, they work hard to make a difference.

They call themselves “panners” who go out of their way to encourage taking a second look

at the products you already have — boycotting brands with toxic work environments or a lack of diversity and advocating to reduce excess waste.

“We're not just talking about makeup, we're talking about real people because real people wear makeup,” Instagram influencer Elease said. “People not only care about the products, but they care about the people that it impacts.”

Project Pan isn’t about rushing to finish products just to get rid of them. Even though purging old products can feel good, the challenge is about changing your mindset so products stay with you longer.

It encourages quality over quantity and asks the consumer to pick products they love that will last.

Makeup, in general, has a short shelf life. Some products expire faster than others. Mascara, liquid eyeliner and cream blush are recommended to be replaced every three to six months, while powder products like eyeshadow, blush and bronzer can last longer.

The beauty industry contributes 120 billion units of trash every year, with ultimately 95% of cosmetic packaging thrown away.

Buying in excess often leads to waste, so using up what you have ensures products serve their full purpose. There's no point in stocking up on makeup under the excuse of saving it for special occasions — buy what you need and use it while it's fresh.

If you have an overflowing drawer of products you want to work on hitting the “pan” on, it’s fun to make monthly goals and set up a deadline to keep yourself accountable.

Influencers have started posting their “empties” haul on TikTok, where they showcase and rate all the products they’ve used. They evaluate whether they would repurchase based on price, size, scent, etc.

I think these videos offer more than regular hauls. I would trust influencers who have used the entirety of a product rather than someone who just briefly tested a product they just bought.

“Empties” hauls emphasize long-term experiences and what's really worth repurchasing.

While not everyone needs to go through their entire collection, frequent beauty buyers should consider this challenge.

It's finally tomorrow

This popular trend encourages the repurposing of products to finish them in the end. This means using blush as eyeshadow, cream lipstick as blush and mascara doubling as eyeliner or brow gel. Experiment while saving — it's a fresh approach to declutter and become more resourceful in the new year with a newfound sense of versatility.

Project Pan is a way to reset and focus on what you already have in front of you. While the initiative doesn't deter you from buying new products altogether, it challenges you to finish what you already have before adding more — or rethink what you truly need.

The Weeknd releases sixth studio album "Hurry Up Tomorrow"

By JASON BUPP Staff Writer

Over the past 14 years, Abel Tesfaye, better known as The Weeknd — has been swooning crowds with his angelic voice that has captivated the music industry. His tunes have captured the ears of billions, as the only musician to have 25 songs with over a billion streams each on Spotify. His global reach and pop culture influence has made him a modern mega-icon.

I remember my first experience listening to the Toronto native from the song “The Zone” featuring Drake off of the second album in Abel’s original trilogy, “Thursday.” With the slow and mellow melody — mixed with Abel’s acapella in the background — along with a smooth 808 bass allows his and Drake’s flow to work perfectly together; the song remains one of my favorites to this day.

With the release of the first single “Dancing In The Flames,” I was instantly hooked on what the sound of this new album was going to be. A hint of late 80s synth-pop mixed with his modern R&B style fit really well and set the tone for the upcoming album.

After the initial single, he dropped “Timeless” with Playboi Carti. The song was different from the first, but really was just a modern rap song with a catchy beat. Later on he released “São Paulo” with Latin pop artist Anitta. The song was a drastic change from “Dancing in The Flames,” with a hyper bass beat similar to modern Brazilian house. Hard hitting kicks and interesting use of 808s and vocals, it made

me start to question what this album could even sound like.

After a delay due to the LA wildfires, “Hurry Up Tomorrow” was finally released on Jan. 31. The marathon album is over an hour and 20 minutes long with 22 songs.

The first half of the album is the biggest highlight. The first song, “Wake Me Up” featuring Justice, is a great introduction to what the album sounds like, half being upbeat, hard hitting kicks, pop-like melodies and a hint of that 80s synth-pop and R&B. The other half is mellow, harmonic and has a deep emphasis on vocals.

Another highlight for me personally was “The Abyss” with Lana Del Ray. Del Ray has always been one of my favorite vocalists and hearing her collaborating with Abel on what sounds almost like cinematic resolve immediately after the main climax just felt and sounded perfect. Her background vocals control the mood and flow of the song and mix well with Abel’s flow.

It is worth mentioning “Reflections Laughing” featuring Travis Scott and Florence + The Machine. Abel and Travis have been frequent collaborators, most notably on songs like “wonderful” and “WAKE UP.” This combination of Florence + The Machine’s melodies, Travis’ autotuned deep voice vocals and phone call interlude that breaks up the song, all fit so well with the story of the album. The song itself flows well, with transitions that make sense and melodies that enhance the lyrics and vocals of Travis and The Weeknd.

The Weeknd is vulnerable in this

album, showing his imposter syndrome in the interlude “I Can’t ***** Sing,”and throughout the lyrics of his songs describing the feeling of falling down a spiral and the feeling that he is stuck in the cycle of the industry. This theme has been perpetuated throughout this trilogy of albums, starting in After Hours and continuing through into Dawn FM. This album is a representation of Abel trying to break free from the industry.

The Weeknd has released a fantastic

cultivation of his career. Unfortunately, there may never be another album under that moniker. I feel fortunate that I was able to experience the albums that he has released and the evolution of his sound. The Weeknd has shaped pop music and I feel deserves much more recognition for his impact on the industry. The Weeknd is over, and so “Hurry Up Tomorrow” marks the end of an era, and an introduction of a new one.

ILLUSTRATION BY KATERINA PARIZKOVA

ILLUSTRATION BY REBECCA COLLINS

Recent struggles poisoning Quinnipiac men’s basketball’s control of MAAC

By RYAN JOHANSON Associate Sports Editor

This time last year, Quinnipiac men’s basketball was sitting 10-0 in conference play looking to secure its first MAAC Regular Season Championship, only to snap the undefeated start with a four-game losing streak. Flash forward to this year and the Bobcats are in a similar spot.

Losers of two of the last three, Quinnipiac sits at 10-3, merely one game behind newly promoted MAAC competitor Merrimack and just a half game ahead of Marist. The biggest thing that’s hurting the Bobcats this season — especially in the last three games — is costly errors when being up by double-digits.

After being up by 13 against Siena on Feb. 2 and 12 against Niagara on Feb. 8, the Bobcats wound up on the losing side. Both teams forced the Bobcats into turnovers, winning the battle with their defensive traps.

“We’re struggling with the ability to put people away,” head coach Tom Pecora said on Feb. 8. “You know, we get up 11, 12, 13 points, and then teams fight their way back in way too often because we get lackadaisical, and it’s something we have to continue to work on practice.”

The Bobcats — though in a tough spot at the moment — have the talent to continue their earlier successes to get a top-two seed and earn a bye in the MAAC Tournament. One saving grace for Quinnipiac is junior forward Amarri Monroe, who has collected career-high points in his last three games — 27, 28 and 29.

“He was Preseason Player of the Year for a

reason,” Pecora said. “We’ve just got to continue to find ways to win games in different ways. But he’s been a steady force for us, obviously, over the last few weeks.”

The Newburgh, New York, native dominates both sides of the court. In conference play, he averages 20.4 PPG and 9.1 RPG — both best for first in the MAAC — and is second in the conference with 2.7 SPG. Monroe knows how dominant he has been this season, and has deemed himself the hardest player to defend in the MAAC.

“I’m really focused on Defensive Player of the Year,” Monroe said on Feb. 6. “I think I got snubbed last year, so I’m really fighting to get that. And if I get Player of the Year, then great.”

Just like Monroe, graduate student center Paul Otieno ranks in the top three in rebounds in the MAAC with 8.4 RPG. The Nairobi, Kenya, native has gained national recognition for rebounding and ranks No. 5 in the country in offensive rebounds per game. Rebounds have always been a part of Otieno’s game — averaging over six in each of his three seasons in Hamden — but it’s what he did in the offseason that has transitioned his game.

“I come in at 7:15; he’s in here shooting free throws alone or with one of the managers, he gets 100 free throws up every morning,” Pecora said on Feb. 6. “In our locker room it says on the wall ‘The work defines the man.’ Well, no one’s a better example of that than Paul and everything he does.”

Otieno worked on his shooting at both the charity stripe and beyond the arc. The graduate

student center is 20-22 from the line in his last five games, bringing his free throw percentage to 79.3%. During the Feb. 8 loss to Niagara, he was 3-3 from three to aid his career-high 28 points.

“We still want him to go get offensive rebounds, shoot those free throws, finish and-ones,” senior forward Alexis Reyes said on Feb. 6. “And we know who he is, and we trust him.”

While Quinnipiac’s top two players have been Otieno and Monroe, its depth has been the main reason the Bobcats are at the top of the MAAC. With graduate student guard Savion Lewis coming back from a three-game absence, he seems to have returned to his former self and been able to facilitate. The Dix Hills, New York, native racked up 30 assists in his most recent four games back from injury, meeting his average from last year.

“Savion Lewis, with eight assists, again, took it to another level,” Pecora said on Feb. 6. “I thought he made great decisions with the ball in the second half as he pushed it and got into gaps and things of that nature.”

Sophomore guard Khaden Bennett took over the ball-handling duties when Lewis missed time and excelled. The Grand Prairie, Texas, native has played six times as many minutes since last year, averaging 10.8 points while guiding the offense.

“He lives in a gym,” Pecora said on Jan. 31. “He does all the little things that players need to do to become great. And he’s just a solid, solid part of the rotation.”

A tandem of senior forward Alexis Reyes and freshman guard Jaden Zimmerman have traded in and out of the starting lineup, mak-

ing their presence felt. Reyes has been tabbed a ‘glue guy’ by Pecora with the way he stuffs the stat sheet and Zimmerman has drawn comparisons to former 1,000-point scorer Matt Balanc ‘24 with his athleticism.

“They’re both tough,” Pecora said. “I think they were both meant to be 6-foot-6 power forwards, but they’re guards because of their size.”

The current bench includes senior guard Doug Young, junior guard Ryan Mabrey, freshman forward Grant Randall and graduate student forward Richie Springs, all of whom have played meaningful minutes in the absence of freshman center Spence Wewe who has been sidelined by a foot injury since Nov. 24, 2024.

With the bench down to four players, combined with recent foul troubles, Quinnipiac will see a major pitfall if the foursome can’t produce. In eight of the Bobcats’ 10 losses, they have lost the bench-scoring battle, the most recent example being Niagara when Quinnipiac’s bench was only able to put up 13 points compared to the Purple Eagles’ 48.

The Bobcats have the tools to make a deep run for their first MAAC Championship, but if they want to, they need to work on cleaning up their game.

“We have to continue to improve every day,” Pecora said on Feb. 6. “That’s what we talk about before every practice. Can’t go through the motions today, and, we’re wearing a battle for a title. We want to win another title right now.”

‘People are gonna start knowing our name’ Quinnipiac softball poised for a winning season

By CLAIRE FRANKLAND Associate Sports Editor

After ending the 2024 season ninth in the MAAC, Quinnipiac softball sat in the same spot they have for 12-straight seasons — with a losing record.

The Bobcats ended the season 20-25 overall with subtle improvement from 2023, where they finished 17-25.

In the 2025 MAAC Coaches’ Preseason Poll, Quinnipiac is tied at No. 9 with conference newcomer Merrimack. Despite falling in the same spot as last year, this season’s ranking is arguably worse for the Bobcats, who are also behind Sacred Heart, another new contender in the MAAC. Additionally, Quinnipiac had no athletes make the preseason All-MAAC team.

Despite the poor MAAC predictions, Quinnipiac softball believes they have what it takes to turn around the program this season.

“This year we’re going to make a name for ourselves,” senior catcher and outfielder Amanda Engel said.

Breaking down the roster, Quinnipiac has 19 returning players.

“This senior class has been through everything with me,” head coach Hillary Smith wrote in a statement to The Chronicle.

Much of the senior class has played at Quinnipiac for several years and is determined to improve the program. Smith points to two of her star senior pitchers, Jaclyn Gonzalez and Sydney Horan, highlighting their dedication to the team.

“Sydney and Jackie have anchored our pitching staff year after year, and they’ve grown into leaders who set the tone every time they step into the circle,” Smith wrote.

Both athletes have played for Quinnipiac

their entire collegiate careers, and have shared hopes of finally crossing the threshold to the MAAC Tournament.

“We definitely want to make the MAAC Tournament,” Gonzalez said. “Win it, yes, but also, start small, one day at a time.”

Quinnipiac has nine new additions to its roster going into the season as well, its largest incoming class in five years.

“With all the upperclassmen, we feel like it is monkey see monkey do for the underclassman,” Gonzalez said. “I feel like changing the culture and being like ‘I’m so excited for practice, let’s get this,’ makes our freshman and sophomores more excited to go to practice.”

One of Quinnipiac’s new additions, freshman outfielder Mia Rubirosa, has stood out to Smith

in the offseason. A Connecticut native, Rubirosa attended West Haven High School, where she was a two-time Connecticut All-State Selection and four-time First Team All-SCC Selection.

“She’s the kind of player who elevates everyone around her,” Smith wrote. “She’s a tremendous softball player, but what sets her apart is her character- humble, poised, and relentless in her approach to every rep, every drill, every moment.”

The Bobcats have put in the time off-season, working to build a strong connection and chemistry between their new and returning players.

Smith, along with assistant coaches Mandie Perez and Sydney Senerchia have helped build this culture by hosting meetings with the team to discuss their strengths and weaknesses.

“We’ve been very good with like feedback and

just communicating with each other,” Engel said. Looking at the Bobcats’ schedule, they will play 50 games this season, competing against 27 different teams with 19 doubleheaders.

Quinnipiac will open the season stacked with invitationals, starting with the Roar City Invitational, followed by the Space U Invitational during February. Going into March, the Bobcats will also compete at the University of Delaware Tournament and the Mizzou Invitational.

The Bobcats will open MAAC play competing against teams including Iona, Rider, Niagara and Canisius. During the season, Quinnipiac will also compete in non conference games against Marist, Boston College and Holy Cross, opponents that will test Quinnipiac’s grit.

“We have the toughest schedule we’ve ever had, but that’s by design,” Smith wrote. “We’re stepping onto the biggest stages not just to compete, but to make a statement about who we are and what we stand for.”

Over the winter break, the team created a book club. Quinnipiac chose to read “The Habits of a Champion” by Dana Cavalea, which highlights 15 lessons about what it takes to become a champion.

“Sometimes we’ll just go off and we’ll have this whole conversation when someone will say something, and then they’ll just look around the room at someone and be like ‘You’re like that,’” Engel said. “It’s so uplifting and so motivational for our team.”

With the start of the season just days away, the Bobcats will look to capitalize on every opportunity and finally make a name for themselves.

The Bobcats open up their season on Feb. 14 at 5 p.m. where they face off against Tennessee State University in the Roar City Invitational.

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Junior outfielder Ally Hochstadter waits on deck against Sacred Heart on April 17, 2024.

Doing more with less

Men’s lacrosse competing with younger talent

By MICHAEL PETITTO Copy Editor

For Quinnipiac men’s lacrosse, 2024 seemed to be the year for championship contention. The Bobcats started the year with seven-straight wins, earning national recognition and taking the No. 20 slot in the Inside Lacrosse DI media poll rankings in March.

But the season didn’t end the way anyone had hoped for with a second-straight loss in the first round of the MAAC playoffs.

Any reasonable person would come to the conclusion that Quinnipiac should run it back with a similar squad. An entire year of experience together along with a dynamic ability to score seems like a recipe for success.

But it does not have the luxury of getting the band back together. The Bobcats’ top five scorers from last season are no longer with the team. But graduate student midfielder Trevor Douglas, the sixth top scorer from last season, isn’t worried.

“This group has had the opportunity to watch last year’s offense and learn a lot from those veteran guys,” Douglas said. “But the cool thing about it is that the offense this year has a completely new look to it, and we’re excited.”

Freshmen occupy over 20% of the roster this year — that’s a lot of new players to be a part of a squad that wants to compete in big games.

“We’ve got a lot of young guys stepping into bigger roles,” Douglas said. “And while they understand how to run and be a part of (last year’s) offense, we’re going to create our

own identity. So we’re excited to start a new chapter as a new offense, but make those older guys proud for sure.”

For the coaching staff, an influx of new players means that it’s up to the coaches to develop them into meaningful contributors — something head coach Mason Poli views as a part of the job rather than a challenge.

“I have to remind my coaching staff that we’re coaches,” Poli said. “If we’re not coming to work every day to teach and develop then we’re not doing our job. So just knowing that the learning curve might look a little different, we’ve got some guys at earlier points that we’re really starting to see the returns now.”

Despite being in the beginning of a long season, Poli is starting to see some returns from the freshmen players.

“A couple other guys on the defensive end, (defender) Riley Ruane, (midfielder) Adam Kim, (defender) Chad Pelonzi,” Poli said. “And then the offensive end, seeing some of those young freshmen flourish in (midfielders) Carter Hills and Drew Bradley really taking an understanding to the offense. On (the offensive) end, it’s really fun to see a lot of new guys step up into some new roles for us this year.”

Unless the Bobcats can find some diamonds in the rough to replicate their offensive dominance from last year, the team will need to step up on defense.

Lucky for Quinnipiac, senior goalie Mason Oak is back for a fourth year with the Bobcats. One of the best goalies in the country last sea-

‘It’s

son, he averaged 15.4 saves per game and re corded an astonishing 22 saves in a matchup against Sacred Heart. Oak was recently named as an honorable mention USA Lacrosse’s Divi sion I list of Preseason All-Americans.

“I try not to look at all the stats,” Oak said. “Honestly, I just try to play my game. Going into games, you can’t think about that stuff. You just gotta do what you gotta do.”

Despite an incredible season in 2024, Oak credits his teammates for his high-volume production.

“I have a really strong defense in front of me,” Oak said. “They give me good shots to see, so we had a lot of success together last year.”

If the Bobcats are going to compete this year, they’re going to need both the offense and defense to step up. Poli is adamant that his team can not only accomplish that, but play effectively in all phases of the game.

“We have a healthy squad, a few more veterans as well,” Poli said. “I think from an offensive and defensive standpoint, even in the middle of the field, I think we have the ability to push from transi tion this year. We’re really confident in what we can bring to the table.”

The Bobcats will travel to Amherst, Massachusetts to open up the season against UMass Amherst on Feb. 14 at 2 p.m.

revenge time’

Women’s lacrosse looks to defy rankings

By RYAN JOHANSON Associate Sports Editor

When the MAAC preseason women’s lacrosse polls came out, Quinnipiac was predicted to finish No. 10 in a 12-team conference, reflecting how last season ended with its

made the playoffs.

“Two years ago (2023), we were ranked last in the MAAC, and we ended up having our best season since 2013,” senior midfielder EllaGrace Delmond said. “So a lot of us who have been here from that season are riding on it. I texted immediately after it, and I was like, ‘It’s revenge time.’”

When you look at Quinnipiac’s record, you see 13 losses in 2024.

But if you delve a little deeper, you’ll see half of those losses were by two goals or fewer.

A reason they weren’t able to flip the script was the Bobcats’ ability to score, ranking second to last — just one goal away from being dead last — in goals per game. Christopher harped in on this as a key vocal point in preparation for the new season.

“Just powering shots through,” senior attacker Abby Wise said. “That’s what we fell behind on last year, just not making shots and falling behind by like one or two (goals), so finishing shots.”

The Bobcats haven’t reached the MAAC playoffs since 2023, but the team thinks they have what it takes to make it back there. Quinnipiac returns five of its top eight scorers, one being Delmond — who led the team in points with 35 goals and 43 points — and one being sophomore defender Maggie Kennedy, who, after her stellar freshman season, was named to the MAAC All-

Another of the returnees is EllaGrace’s sister, junior attacker Mia Delmond, coming off a 24-point campaign. This will be the last season EllaGrace and Mia will take the field together as teammates.

“It’s very bittersweet and more emotional,” EllaGrace said. “But I think as the games go on, we know we have to do it for each other, our family, it’s a huge deal, but it also reflects on to the rest of the team.”

For the Delmond’s sisters and the Bobcats, they don’t have to wait long to hit the home field, having their first five games in Hamden which hasn’t happened since 2010. The Bobcats have a total of nine home games, and kicking off with five was deliberate.

“I think it helps our team make a statement of who we are this year,” Christopher said. “I wanted us to look different, if we keep holding on to what we’ve been, we’re never going to get to where we want to be. It was intentional, in my mind, scheduling that we want to be able to kind of own our own field, and then be able to then take that on the road.”

After losing 13 players to graduation or the transfer portal like last season’s second-leading scorer — graduate student attacker Angelina Sparacio transferred to Hofstra — the Bobcats have been able to fill those holes with eight freshmen.

“They’ve been pushing our whole group, which I love,” Christopher said. “And I think what’s cool is that the upperclassmen have embraced that. They know that they’re going to help them elevate this program, and they want them to keep pushing.”

The Bobcats don’t start MAAC play until

March 22 when they host Iona, but there’s certainly a consensus around who the group has circled since the schedule announcement.

“I would say Fairfield is definitely up there,” Christopher said. “Just the proximity. I think every sport probably would name them as one. Iona for us is also always a bit of a battle.”

Fairfield remains a powerhouse in the MAAC, winning five out of the last six conference championships — Niagara won in 2024. Group in Iona. who defeated the Bobcats in overtime last season, and Quinnipiac faces a tough challenge ahead.

While these were two of the top four seeds in the MAAC last year, this year is different, adding Sacred Heart and Merrimack into the mix.

“(Merrimack’s) got a great group; they’re athletic; they go hard,” Christopher said. “(Sacred Heart) stole one from us (last year) that should have really been ours. So I think we have our eyes set on that one to make sure that we take care of business this time around.”

The Bobcats know they have something to prove after seeing their No. 10 prediction, but for Christopher’s squad, this means making sure you follow the little things.

“We’ve tried to just stay focused on the little things,” Christopher said. “Fine tuning the fundamental skills, knowing that if we can take care of those things, whether that’s conditioning, stick work, just our understanding of the game, we’ll be in a much better position. The mindset now, especially after seeing that poll, is ready to go.”

The road to returning to the MAAC playoffs starts with a matchup at home against CCSU on Feb. 12 at 2 p.m.

Indoor track and field unveils new equipment

By AMANDA DRONZEK Sports Editor

Quinnipiac women’s indoor track and field’s most recent addition is not an athlete, but several new pieces of eqiupment to practice with. During preseason, the team uneveiled a pole vaulting pit, a sand pit and a new runway which serves as a base for long and triple jumping.

“In the words of my jumps coach (Brendan Wilkins) ‘It’s going to make it game changing,’ because now we’re going to have access to be able to practice a little more frequently and especially accommodate the kids that can’t always make the practice block that we have,” head coach Carolyn Martin said Jan. 22.

Not only is this equipment helping the athletes train better, it’s also saving Quinnipiac time and money. According to Wilkins, athletes spent an average of 6070 hours per season traveling to and from Yale three days per week where they had

been holding jumping practices.

“Last spring, we competed at another school’s facility who had a raised runway which sparked the idea for ours and we started putting together a proposal to pitch,” Wilkins wrote in a statement to The Chronicle.

After deliberating with the Athletic Department, it was clear adding this equipment would benefit the program in the long run. As the indoor season winds down and the team enters its “peaking phase” in Wilkins’ words, it’s integral for the team to be in one setting and take more time to have high quality results.

“The most common question I would get when a recruit is on campus is, ‘Where do I practice?’” Wilkins wrote. “Now that the jumpers have a place on campus that feels like it is their own, it makes them feel valued and excited to train.”

“It took a while, but it was worth it,” sophomore jumper Shaelyn Murphy said.

Sports

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Freshman jumper Talia Graham stands on the new runway before pole vaulting.

TRIPP MENHALL/CHRONICLE

Junior jumper and pole vaulter Erin Brennan practices with the new pole vaulting equipment.

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As of publication, Brennan ranks No. 8 all time for the triple jump at Quinnipiac.

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Quinnipiac indoor track and field competes in the Yale Giegengack Invite on Feb. 15 before the MAAC Championships the following weekend (Feb. 22-23).

TRIPP MENHALL/CHRONICLE

Quinnipiac indoor track and field’s new sand pit is located on the basketball courts at the Recreation and Wellness Center.